Suchergebnisse

Das Dissertationsprojekt untersucht das Zusammenspiel von Klängen, materieller Kultur, Rassismus und Polizeigewalt in Brasilien aus dekolonialer Perspektive. Dazu nutzt diese Arbeit Theorien aus den Kulturwissenschaften beziehungsweise den Sound Studies, um kontingente Auseinandersetzungen zu analysieren, bei denen Designobjekte und -verfahren als materiell-diskursive Knotenpunkte für die Normalisierung und Fortschreibung rassifizierter Gewalt dienen. Um sich mit den Bedingungen dafür zu befassen, wird Design – sowohl als wissenschaftliches Feld als auch Praxis – in dieser Arbeit als ein materiell-diskursiver Apparat betrachtet, der nicht nur die Ergebnisse eines Forschungsprojektes, sondern auch seine Voraussetzungen einbezieht. Der Schwerpunkt dieser Dissertation ist die Auseinandersetzung mit "listening anxieties" (Hörängsten). Ein solcher Begriff taucht mit den Aspekten von politischem Konsens, Überwachung und Regelverhalten auf. Die Zusammenfügung dieser drei Begriffe in institutionellen, designerisch gestalteten wie auch alltäglichen Verfahren wird hier mit "Apparatus of Auditory Governance" (Apparat der akustischen Machtführung) bezeichnet. Im engeren Sinne werden akustische Machtführungen an drei Beispielen aus dem 21. Jahrhundert Brasiliens in den Blick genommen: als Erstes wird die von der staatlichen Parallelmacht der Militärpolizei geführte Kriminalisierung von Jukeboxes in einer der sogenannten pazifizierten Favelas in Rio de Janeiro untersucht; anschließend, wie der Aufbau einer sieben Kilometer langen akustischen Mauer in Rio als ein Stadt- und Rassentrennungsmittel betrachtet werden muss. In der letzten Fallstudie wird analysiert, wie der polizeiliche Einsatz von Knallgranaten zur Erzeugung von Nachtruhe in den benachteiligten Nachbarschaften in São Paulo Rassengewalt erzeugt. Dabei leistet diese Arbeit auch einen Beitrag zum designhistorischen Diskurs,,indem die kolonialen Grundvoraussetzungen des Designfeldes untersucht werden, wobei gleichzeitig eine dekolonisierende und klangorientierte Methodik für Designforschung und Sound Studies genutzt/entwickelt wird. So kann nachgewiesen, wie materielle Bedingungen der Klanggewalt, beispielsweise durch Architekturgestaltung, temporäre Klangobjekte bis hin zur Entwicklung von speziellen Soundwaffen, einer Art von ontologischem Design (Anne-Marie Willis) zuarbeiten, auch wenn das koloniale und rassifizierte Ethos der designten Klanggewalt sowohl diskursiv als auch materiell weitgehend unsichtbar gemacht wird. Um eine solche ontologische Verfasstheit letztlich überhaupt zu erkennen, wird gefordert, dass sich Designer_innen als Produzent_innen rassifizierter, kolonialer Phänomene in ihrer Praxis betrachten. ; This dissertation attends to the intersection of sound, material culture, racism, and police violence in Brazil from a decolonizing perspective. With a focus on theories informed by cultural and sound studies, it unravels the contingent arrangements through which certain designed objects and practices function as material-discursive nodes for the normalization and perpetuation of racialized violences. To explore these ideas, it reads design—a field of knowledge and a set of practices—as a material-discursive apparatus, accountable for not only the results but also the conditions of possibility for any research endeavor. The main driving force of this work is the identification and evincing of 'listening anxieties.' These emerge through enactments of political consensus, policing, and compliance; the articulation of these three in institutional, designerly, as well as everyday practices is what this research identifies as the Apparatus of Auditory Governance (or AAG). More specifically, I look at three manifestations of these auditory governances in contemporary Brazil—from the early 2000s to the judiciary Coup d'Etat of late 2016. These range from the criminalization of jukeboxes by a Military Police acting outside the scope of written law in so-called 'pacified' neighborhoods in Rio de Janeiro, to the construction of a seven kilometer-long acoustic barrier in the city as a device for urban segregation, to the deployment of sound bombs as devices for the enforcement of silence by the same police force in São Paulo. The articulation of auditory governances, however, is not fixed; rather, it shifts and mutates to account for distinct and diverse experiences of listening. These shifts are what this work calls earviews: a conceptual orientation which determines the "listening point" where narratives and perceptions of auditory reality unfold from. The AAG, articulated and deconstructed at the intersection of distinct and conflicting earviews, forms the main method of this dissertation, and is of particular interest for sound and design studies. By understanding the earview as an asset of and for designing, it is possible to interrogate the role of design in the enforcement, reproduction, and normalization of sonic violences, and the erasure of other(ed) narratives of listening. Rather than simply evincing the hegemony of normative—qua racialized—earviews, I intervene by reading them through first-person accounts and storytelling stemming from fieldwork with artists and activists in Brazil, as well as from two movies by Brazilian directors—O Som ao Redor (2012) and Branco Sai, Preto Fica (2014). These intersections are further complemented by a semi-fictional narrative created throughout five collective pedagogical sessions fusing designing and fabulation. This format, named "Yarn Sessions," is my methodological proposition for design research in this work. This research started out by posing three broad questions relating to the connection between auditory practices—i.e. sounds and their social, cultural, and political engagements—and the design of listening devices. It asked: what is the contribution of design to the politics of mediated listening and its devices? What might be the possible, probable and/or preferable enactments of the political agency of designed listening devices? These initial questions are all addressed by this work, and have shifted from their initial form as a general investigation on the entanglement of design and listening, to offer an inquiry and an intervention on violences enacted with and through sound. This work thus participates in a re-historicization of the colonial underpinnings of design, while at the same time offering a decolonizing methodological proposition for design research and design studies with a sound and listening-oriented locus. It demonstrates that the material conditions of sonic violence—from architectural planning to transitional/illegalized sound objects to the development of weaponry—are a form of ontological design (cf. Anne-Marie Willis) which succeeds by making its own colonial and racialized ethos discursively and materially invisible. This ontological enunciation demands the accountability of the designer as both producer and reproducer of racialized/colonial phenomena in the making of their own practices. Yet this research does not align itself completely with discourses from the "ontological turn" or "new materialisms" in philosophy (cf. Karen Barad), insofar as these often undermine and erase the role played by coloniality and "racialized assemblages" (cf. Alexander Weheliye) to the constitution of its own ontologies and epistemologies. My proposition for design understands the field to constitute in itself an ontoepistemology (cf. Willis, Gloria Anzaldúa), albeit reading such ontological alignments through decolonial and critical race studies. In so doing, it opens up a new field of inquiry in which sound studies and decolonial thought inform designerly inquiries into material culture not only for the evincing of specific material-discursive phenomena (e.g. sonic violences), but also for intervening on them with intersectional and decolonizing frameworks.